This Savage Song (Monsters of Verity, 1) by V. E. Schwab
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This Savage Song (Monsters of Verity, 1)

by

V. E. Schwab

(Author)

4.3

-

4,179 ratings


#1 New York Times Bestseller * An Amazon Best Book of the Year

There’s no such thing as safe in a city at war, a city overrun with monsters. In this dark urban fantasy from acclaimed author Victoria Schwab, a young woman and a young man must choose whether to become heroes or villains—and friends or enemies—with the future of their home at stake.

The first of two books, This Savage Song is a must-have for fans of Holly Black, Maggie Stiefvater, and Laini Taylor.

Kate Harker and August Flynn are the heirs to a divided city—a city where the violence has begun to breed actual monsters. All Kate wants is to be as ruthless as her father, who lets the monsters roam free and makes the humans pay for his protection. All August wants is to be human, as good-hearted as his own father, to play a bigger role in protecting the innocent—but he’s one of the monsters. One who can steal a soul with a simple strain of music.

When the chance arises to keep an eye on Kate, who’s just been kicked out of her sixth boarding school and returned home, August jumps at it. But Kate discovers August’s secret, and after a failed assassination attempt the pair must flee for their lives.

In This Savage Song, Victoria Schwab creates a gritty, seething metropolis, one worthy of being compared to Gotham and to the four versions of London in her critically acclaimed fantasy for adults, A Darker Shade of Magic. Her heroes will face monsters intent on destroying them from every side—including the monsters within.

The repackaged paperback includes a map of V-City!

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ISBN-10

0062983393

ISBN-13

978-0062983398

Print length

480 pages

Language

English

Publisher

Greenwillow Books

Publication date

April 27, 2020

Dimensions

5.31 x 1.08 x 8 inches

Item weight

12 ounces


Product details

ASIN :

B013PKDS5A

File size :

5730 KB

Text-to-speech :

Enabled

Screen reader :

Supported

Enhanced typesetting :

Enabled

X-Ray :

Enabled

Word wise :

Enabled


Editorial Reviews

Readers looking for a dangerous and engrossing new world to fall into will find it with this fast-paced, frightening read. -- "Publishers Weekly"

Therese Plummer's charged narration brings to life this fantasy tale of dread and terror...Whether voicing defiant Kate or introspective August, Plummer projects an element of fear, reminding listeners that the truce between the two parts of the city is fragile-and that monsters lurk around every corner. As the action of the audiobook speeds up, Plummer matches her pacing to keep listeners engaged through every violent turn of events. -- "AudioFile"

The pacing is fast, the narrative enthralling, but it is the depths of the novel-its acuteness of moral imagination and perception-that will stay with you...My highest recommendation. -- "San Diego Union-Tribune"

The world is fascinating...the characters complicated, and the political machinations and emotional depths both charged and compelling...Crackling with energy. -- "Kirkus Reviews"

A postapocalyptic urban fantasy with a Romeo and Juliet theme...Kate and August both undergo an impressive amount of character development, and fans will like them despite their flaws. -- "School Library Journal"

Explores the natures of justice and humanity in an assuredly built world with compelling settings. -- "Horn Book"

A darkly precise narrative that feels like a shiver down the spine. -- "Booklist (starred review)"

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Sample

PRELUDE

KATE

The night Kate Harker decided to burn down the school chapel, she wasn’t angry or drunk. She was desperate.

Burning down the church was really a last resort; she’d already broken a girl’s nose, smoked in the dormitories, cheated on her first exam, and verbally harassed three of the nuns. But no matter what she did, St. Agnes Academy kept forgiving her. That was the problem with Catholic schools. They saw her as someone to be saved.

But Kate didn’t need salvation; she simply needed out.

It was almost midnight when her shoes hit the grass below the dorm window. The witching hour, people used to call it, that dark time when restless spirits reached for freedom. Restless spirits, and teenage girls trapped in boarding schools too far from home.

She made her way down the manicured stone path that ran from the dormitories to the Chapel of the Cross, a bag slung over her shoulder, bottles inside clinking together like spurs in rhythm with her steps. The bottles had all fit, save for one, a vintage wine from Sister Merilee’s private store that hung from her fingertips.

Bells began to chime the hour, soft and low, but they were coming from the larger Chapel of the Saints on the other side of campus. That one was never fully unattended—Mother Alice, the school’s head-mistress-nun-whatever, slept in a room off the chapel, and even if Kate had wanted to burn down that particular building, she wasn’t stupid enough to add murder to arson. Not when the price for violence was so steep.

The doors to the smaller chapel were kept locked at night, but Kate had pocketed a key earlier that day while enduring one of Sister Merilee’s lectures on finding grace. She let herself in and set the bag down just inside the door. The chapel was darker than she’d ever seen it, the blue stained glass registering black in the moonlight. A dozen pews separated her from the altar, and for a moment she almost felt bad about setting fire to the quaint little place. But it wasn’t the school’s only chapel—it wasn’t even the nicest—and if the nuns at St. Agnes had preached about anything, it was the importance of sacrifice.

Kate had burned through two boarding schools (metaphorically speaking) in her first year of exile, another one in her second, hoping that would be it. But her father was determined (she had to get it from someone) and kept digging up more options. The fourth, a reform school for troubled teens, had stuck it out for almost a year before giving up the ghost. The fifth, an all-boys academy willing to make an exception in exchange for a healthy endowment, lasted only a few short months, but her father must have had this hellish convent of a prep school on speed dial, a place already reserved, because she’d been packed off without so much as a detour back to V-City.

Six schools in five years.

But this was it. It had to be.

Kate crouched on the wooden floor, unzipped the bag, and got to work.

The night was too quiet in the wake of the bells, the chapel eerily still, and she started humming a hymn as she unpacked the duffel: two bottles of jack and almost a full fifth of vodka, both salvaged from a box of confiscated goods, along with three bottles of house red, a decades-old whiskey from Mother Alice’s cabinet, and Sister Merilee’s vintage. She lined the contents up on the back pew before crossing to the prayer candles. Beside the three tiers of shallow glass bowls sat a dish of matches, the old-fashioned kind with long wooden stems.

Still humming, Kate returned to the liquor cabinet on the pew and unscrewed and uncorked the various bottles, anointing the seats, row after row, trying to make the contents last. She saved Mother Alice’s whiskey for the wooden podium at the front. A Bible sat open on top, and in a moment of superstition, Kate spared the book, lobbing it out the open front door and onto the grass. When she stepped back inside, the damp, sweet smell of alcohol assaulted her senses. She coughed and spit the acrid taste from her mouth.

At the far end of the chapel, a massive crucifix hung above the altar, and even in the darkened hall, she could feel the statue’s gaze on her as she lifted the match.

Forgive me father for I have sinned, she thought, striking it against the doorframe.

“Nothing personal,” she added aloud as the match flared to life, sudden and bright. For a long moment Kate watched it burn, fire creeping toward her fingers. And then, just before it got too close, she dropped the match onto the seat of the nearest pew. It caught instantly and spread with an audible whoosh, the fire consuming only the alcohol at first, then taking hold of the wood beneath. In moments, the pews were going up, and then the floor, and at last the altar. The fire grew, and grew, and grew, from a flame the size of her nail to a blaze with a life of its own, and Kate stood, mesmerized, watching it dance and climb and consume inch after inch until the heat and the smoke finally forced her out into the cool night.

Run, said a voice in her head—soft, urgent, instinctual—as the chapel burned.

She resisted the urge and instead sank onto a bench a safe distance from the fire, trailing her shoes back and forth through the late summer grass.

If she squinted, she could see the light of the nearest subcity on the horizon: Des Moines. An old-fashioned name, a relic from the time before the reconstruction. There were half a dozen of them, scattered around Verity’s periphery—but none had more than a million people, their populations locked in, locked down, and none of them held a candle to the capital. That was the idea. No one wanted to attract the monsters. Or Callum Harker.

She drew out her lighter—a beautiful silver thing Mother Alice had confiscated the first week—and turned it over and over in her hands to keep them steady. When that failed, she drew a cigarette from her shirt pocket—another bounty from the confiscation box—and lit it, watching the small blue flame dance before the massive orange blaze.

She took a drag and closed her eyes.

Where are you, Kate? she asked herself.

It was a game she sometimes played, ever since she learned about the theory of infinite parallels, the idea that a person’s path through life wasn’t really a line, but a tree, every decision a divergent branch, resulting in a divergent you. She liked the idea that there were a hundred different Kates, living a hundred different lives.

Maybe in one of them, there were no monsters.

Maybe her family was still whole.

Maybe she and her mother had never left home.

Maybe they’d never come back.

Maybe, maybe, maybe—and if there were a hundred lives, a hundred Kates, then she was only one of them, and that one was exactly who she was supposed to be. And in the end, it was easier to do what she had to if she could believe that somewhere else, another version of her got to make another choice. Got to live a better—or at least simpler—life. Maybe she was even sparing them. Allowing another Kate to stay sane and safe.

Where are you? she wondered.

Lying in a field. Staring up at stars.

The night is warm. The air is clean.

The grass is cool beneath my back.

There are no monsters in the dark.

How nice, thought Kate as, in front of her, the chapel caved in, sending up a wave of embers.

Sirens wailed in the distance, and she straightened up on the bench.

Here we go.

Within minutes girls came pouring out of the dormitories, and Mother Alice appeared in a robe, pale face painted red by the light of the still-burning church. Kate had the pleasure of hearing the prestigious old nun let out a string of colorful words before the fire trucks pulled up and the sirens drowned out everything.

Even Catholic schools had their limits.

An hour later, Kate was sitting in the rear seat of a local patrol car, courtesy of Des Moines, hands cuffed in her lap. The vehicle barreled through the night, across the dark expanse of land that formed the northeast corner of Verity, away from the safety of the periphery, and toward the capital.

Kate shifted in the seat, trying to get more comfortable as the cruiser sped on. Verity was three days across by car, and she figured they were still a good four hours outside the capital, an hour from the edge of the Waste—but there was no way this local officer was taking a vehicle like this through a place like that. The car didn’t have much in the way of reinforcement, only its iron trim and the UVR—ultraviolet-reinforced—high beams tearing crisp lines through the darkness.

The man’s knuckles were white on the wheel.

She thought of telling him not to worry, not yet—they were far enough out; the edges of Verity were still relatively safe, because none of the things that went bump in the capital wanted to cross the Waste to get to them, not when there were still plenty of people to eat closer to V-City. But then he shot her a nasty look and she decided to let him stew.

She rolled her head, good ear against the leather seat as she stared out into the dark.

The road ahead looked empty, the night thick, and she studied her reflection in the window. It was strange, how only the obvious parts showed up against the darkened glass—light hair, sharp jaw, dark eyes—not the scar like a drying tear in the corner of her eye, or the one that traced her hairline from temple to jaw.

Back at St. Agnes, the Chapel of the Cross was probably a charred husk by now.

The growing crowd of girls in their pajamas had crossed themselves at the sight of it (Nicole Teak, whose nose Kate had recently broken, flashed a smug grin, as if Kate was getting what she deserved, as if she hadn’t wanted to get caught), and Mother Alice had said a prayer for her soul as she was escorted off the premises.

Good riddance, St. Agnes.

The cop said something, but the words broke down before they reached her, leaving nothing but muffled sounds.

“What?” she asked, feigning disinterest as she turned her head.

“Almost there,” he muttered, still obviously bitter that someone had forced him to drive her this far instead of dropping her in a cell for the night.

They passed a sign—235 miles to V-City. They were getting closer to the Waste, the buffer that ran between the capital and the rest of Verity. A moat, thought Kate, one with its own monsters. There was no clear border, but you could feel the shift, like a shoreline, the ground sloping away, even though it stayed flat. The last towns gave way to barren fields, and the world went from quiet to empty.

A few more painfully silent miles—the cop refused to turn on the radio—and then a side road broke the monotony of the main stretch, and the patrol car veered onto it, wheels slipping from asphalt to gravel before grumbling to a stop.

Anticipation flickered dully in Kate’s chest as the cop switched on his surrounds, UVR brights that cast an arc of light around the car. They weren’t alone; a black transport vehicle idled on the side of the narrow road, the only signs of life its UVR undercarriage, the red of its brake lights, and the low rumble of its engine. The cop’s circle of light glanced off the transport’s tinted windows and landed on the metal tracery capable of running one hundred thousand volts into anything that got too close. This was a vehicle designed to cross the Waste—and whatever waited in it.

Kate smiled, the same smile Nicole had flashed her outside the church—smug, no teeth. Not a happy smile, but a victorious one. The cop got out, opened her door, and hauled her up off the backseat by her elbow. He unlocked the cuffs, grumbling to himself about politics and privilege while Kate rubbed her wrists.

“Free to go?”

He crossed his arms. She took that as a yes, and started toward the transport, then turned back, and held out her hand. “You have something of mine,” she said.

He didn’t move.

Kate’s eyes narrowed. She snapped her fingers and the man shot a look at the rumbling tank of a car behind her before digging the silver lighter from his pocket.

Her fingers curled around the smooth metal and she turned away, but not before she caught the word bitch in her good ear. She didn’t bother looking back. She climbed into the transport, sank against the leather seat, and listened to the sound of the cop car retreating. Her driver was on the phone. He met her eyes in the rearview mirror.

“Yeah, I’ve got her. Yeah, okay. Here.” He passed the cell back through the partition, and Kate’s pulse quickened as she took it and brought it to her left ear.

“Katherine. Olivia. Harker.”

The voice on the line was low thunder, rumbling earth. Not loud, but forceful, the kind of voice that demanded respect, if not outright fear, the kind of voice Kate had been practicing for years, but it still sent an involuntary shiver through her.

“Hello, Father,” she said, careful to keep her own voice steady.

“Are you proud of yourself, Katherine?”

She studied her nails. “Quite.”

“St. Agnes makes six.”

“Hmm?” she murmured, feigning distraction.

“Six schools. In five years.”

“Well, the nuns said I could do anything if I put my mind to it. Or was that the teachers back at Wild Prior? I’m starting to lose track—”

“Enough.” The word was like a punch to the chest. “You can’t keep doing this.”

“I know,” she said, fighting to be the right Kate, the one she wanted to be around him, the one who deserved to be around him. Not the girl lying in the field or the one crying in a car right before it crashed. The one who wasn’t afraid of anything. Anyone. Not even him. She couldn’t manage that smug smile, but she pictured it, held the image in her head. “I know,” she said again. “And I have to imagine these kinds of stunts are getting hard to cover up. And expensive.”

“Then why—”

“You know why, Dad,” she said, cutting him off. “You know what I want.” She listened to him exhale on the other side of the line, and tipped her head back against the leather. The transport’s sky roof was open, and she could see the stars dotting the heavy dark.

“I want to come home.”

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About the authors

V. E. Schwab

V. E. Schwab

VICTORIA “V. E.” SCHWAB is the #1 New York Times bestselling author of more than twenty books, including the acclaimed Shades of Magic series, the Villains series, the Cassidy Blake series and the international bestseller The Invisible Life of Addie LaRue. Her work has received critical acclaim, translated into over two dozen languages, and optioned for television and film. First Kill – a YA vampire series based on Schwab’s short story of the same name – is currently in the works at Netflix with Emma Roberts’ Belletrist Productions producing. When she's not haunting Paris streets or trudging up English hillsides, she lives in Edinburgh, Scotland, and is usually tucked in the corner of a coffee shop, dreaming up monsters.

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Reviews

Customer reviews

4.3 out of 5

4,179 global ratings

TacoReader

TacoReader

5

A dark, gorgeous, monstrous tale

Reviewed in the United States on July 5, 2016

Verified Purchase

For the past couple years, Victoria (V.E.) Schwab has been focusing on her adult books, with Vicious and her Darker Shade series. However, This Savage Song takes her back to her start in YA, with an urban fantasy that explores the question of what it means to be monstrous. For readers of her adult works, expect a tone closer to Vicious than Darker Shade, and for readers of her YA, be prepared for a darker, twistier tale than either The Archived or The Near Witch.

This Savage Song takes place in a time and place not too removed from the world we live in now, except for one crucial detail — in this world, acts of violence breed literal monsters. The more horrific the violence, the more terrible the creature it creates.

August, one of the two narrators, is one such monster, born out of an event so horrible, he can barely bring himself to think of it. He wants nothing more than to be human, but throughout the story, it becomes increasingly clear why that can never be possible, and why, even so, he can never stop trying.

Kate Harker, the other narrator, is the teenage daughter of the most powerful man in the city, and would happily throw away her humanity if it won her the attention of her father. She and August don’t so much come together as collide, and the narrative of This Savage Song clearly relishes playing out the tension between the monster boy longing for the very thing his human companion doesn’t seem to value at all, and the girl trying to reconcile what she knows of monsters with the boy standing in front of her.

It’s hard to discuss the plot of This Savage Song without getting into spoilers, so suffice it to say that the entire book is a tense, thrilling exploration of what it means to be human, what can make someone monstrous, and the marks violence leaves, both on the soul and on society. Kate and August’s relationship follows one of my favorite trajectories in fiction, from enemies to wary allies to respected partners to trusted friends, and I loved every delicious moment of their slow-burn friendship (is slow-burn friendship a thing? Because it should be).

I also was fascinated by the monsters that populated the dark world of This Savage Song. For the most part, they are not the mindless, salivating brutes of horror novels and fairy tales, but sinister, intelligent beings with agendas of their own. When the story starts, the monsters have more or less taken over the city, but they still have structure and hierarchy within their new, monstrous society. I’ve always considered worldbuilding one of Victoria’s great strengths, and This Savage Song is no exception, as she feels her way through how the world as we know it would change — and how it would remain the same — if monsters roamed among us.

I’d be remiss if I didn’t mention the writing itself; as always, Victoria’s prose is beautiful, each word carefully chosen, each paragraph meticulously crafted. On a sentence level, I truly feel she’s one of the most talented writers in the game today. There’s hardly a page that goes by without a phrase that would be appropriate to print in loopy script and place in a frame somewhere. Her worldbuilding is lush and detailed, the dialogue sharp, the action taught, and the act of reading her words is decadence and joy and education all in one.

Make no mistake, This Savage Song is very dark, probably Schwab’s darkest since Vicious, and therefore won’t be for everyone. It’s violent and disturbing and, at times, very sad. But despite its darkness, it’s not a depressing book. Yes, Kate and August go through terrible trials and have to face awful things, but when I turned the final few pages of This Savage Song (which, it’s worth noting, ends on a very satisfying note, despite this book being the first of a duology), I felt oddly uplifted. For me, though it’s subtle, there was an undercurrent of light woven throughout the story, enough to leave the reader with the impression that though things may get bad, so bad it seems nearly impossible for them to ever turn around, that there is always hope. There is always goodness somewhere, maybe buried deep, maybe not where you’d expect to find it, and you might have to fight tooth and nail to get to it, but it’s there nonetheless. It’s a difficult balance to strike, but in my opinion, it’s executed beautifully here.

If you are a fan of urban fantasy, unlikely friendships, gorgeous writing, and thoughtful explorations of morality and monstrousness, rush to your local bookstore and dive into the world of This Savage Song today.

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9 people found this helpful

Rain

Rain

5

Enrapturing world and characters

Reviewed in the United States on July 13, 2024

Verified Purchase

Two incredibly well written characters in a dark city full of monsters and secrets. If you like to see characters grapple with their humanity (or lack of) then this book is for you. The music component of the world-building was really unique and added a lot to the atmosphere.

Quimberly

Quimberly

5

A YA for all ages

Reviewed in the United States on March 21, 2017

Verified Purchase

I just finished this book and really I don't even have words to express how amazing it is. Having finished every adult book Schwab has written to date I couldn't get past my need to read more books by her, but at the same time, due to my bad luck when it comes to finding good YA books, I hesitated at making the switch, even for an author I love as much as her. But I was ordering a butt load of books and I wanted to make my total as close to $50 dollars as possible (trying to finish up a a gift card) so I tacked in on at the end. I could not have made a better decision.

Now this is how you do YA. My problems with previous YAs (and I have read a lot of them) is that they try to be gritty, but they're not. The female characters are supposed to be tough as nails but they're whinny. The stories are all dystopian and yet for some reason the main girl always ends up as a princess, or a Mary Sue. The plots barely exist, and when they do they have giant holes which make the stories unbelievable. This Savage Song on the other hand fixes everyone of these problems and then improves on the process. YA authors should take note, this is how you do it.

So things I like. Let start with the basics. The plot. Brilliant. Original. And yes it's a dystopian but it's so much more than that. We're literally playing with the concept of who is the monster and who is the man. We have a monster who just wants to be human, created literally from the monstrous deeds committed by humans. And yet somehow we must rely to the monsters themselves to save humans from themselves. But it's not just about this. The plot is multilayered. Then we have the Territory Wars, and beneath all of this we have Kate and Flynn who seem to understand that there is more going on then just these base problems.

Now the characters. Schwab has a way with creating these larger than life characters that resonate with you. Kate, the girl who wants nothing more than to prove her mettle to her father, but deep down inside she just wants her family to be whole. She the perfect balance of hard and soft. She's truly ruthless (not that ruthless that we find in other books where the girl spends time training and knows martial arts and then freezes so that the hero can save her). Kate can take care of herself. And at the same time you can see how hard she tries to put on a brave exterior. How hard she tries to cover up how much she wants to go home, to that cottage with her mother. She's scarred but stronger for it and I love her. I will say that she does share many features with Lila (from a Darker Shade of Magic) but it doesn't matter because she's complete and real and engaging.

And August, the monster who just wants to be human but when it all comes down to it does he even know what that means? The boy who practices emotions in the mirror, gestures and body positions. The guy who wants to help, wants to deny his very self just so he can be "normal". He's endearing. As a Sunai his power is great and yet he's not overpowering. He's not that superhero who swoops in and somehow gets out of every situation alright. He acts his age, he lives by his own code and he does the best he can to always stay himself. He's understated and yet doesn't fade in the background, and comes alive when he really has to. He's a perfect foil to Kate's hard exterior. I love them together.

What I really enjoyed about this book is that Schwab didn't dumb herself down for a younger audience. She didn't sensor her subject matter and dampen her writing style. Sure her characters are younger, and for a brief period of time they attend school (a hallmark of about 70% of YA), but that's where the YA connection dies. This book reads as dark and gritty as her adult books. There is suspense and violence. The monsters are scary and the humans are scarier. The only thing that makes me sad is that as a YA it reads so much faster than her older books so I finished it quickly. It had me on the edge of my seat the entire way through and now all of a sudden 3 months until the next book is 3 months too many. I guess I have no choice but to try the Archived next since it's the only thing that I haven't read by her.

I guess my main point with this review is directed to people who are more familiar with V.E. Schwab than Victoria. Don't let the separation fool you. She keeps her integrity intact in her genre change. At this point I eagerly await the Our Dark Duet as much as I do Vengeful.

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3 people found this helpful

Seoling D.

Seoling D.

5

I was pretty excited to get into This Savage Song when I ...

Reviewed in the United States on July 16, 2016

Verified Purchase

Minor spoilers ahead.

I was pretty excited to get into This Savage Song when I got through A Darker Shade of Magic and A Gathering of Shadows. I waited too long to read those books (therefore missing out on ears of awareness that such a great series existed). So I wasn’t going to wait to read This Savage Song when I got my hands on it. This story is definitely a different beast than what I am used to with Schwab. I didn’t really know what to expect after reading the synopsis, only that I was in for a great read. If there is a consensus out there for her books, it’s that she has an amazing ability to make, as Ariadne from Inception would say it, pure creation.

Let me start out by saying that I absolutely love the character of August. If you see my ratting report above, then you are certainly aware. I love him to bits. Maybe not as much as I love Kell from Shades of Magic, but maybe more than I love Alucard or Rhy (which is saying A LOT). He hits me as this sort of anti-hero character and gets himself into a bigger fight than he was expecting. He has so much riding on his shoulders and in a world full of monsters where you too are a monster, all you want is to be human.

I’d like to point out that Schwab is the only person out there that can make monsters sound as equally terrifying as they are huggable and lovable. August is a Sunai, the rarest monster there is that seeks out those with malicious intentions who commit malicious acts. To keep himself out of the dark, he uses his violin and let me just say that I think this was one of the greatest moves on Schwab’s part. For some reason, I thought the instrument on the cover was a guitar (which I have no problem with), but when I had the realization it was a violin, I was ten times happier. There is this moment at the end of This Savage Song that August receives a new metal violin to replace his old wooden one. If there was ever a symbol of character growth and development, it was this. When I read that line about the metal violin, I had to stop and think about what this meant for August. He grows so much and that’s what I love about him. He wants to be part of the peace and be part of the solution, but there are so many things standing in his way that he has to face. I usually identify with the female characters, but in this case, I did with August. He loses so much in the process, but remains more human than most of the human characters. I really can’t wait to see what Schwab has in store for him in the next few books because he has A LOT that I want explored. He has some great potential.

It took me a while to warm up to Kate Harker. Though I will say that her metal tip nails did edge me to warm up a little faster. How badass are those? Nonetheless, she rubbed me the wrong way in the beginning, but I knew that I was conflicted about her. She’s one of those characters that has a skewed moral compass because she wants to prove she’s her father’s daughter. What’s problematic about that is Callum Harker’s got more on his agenda than good intentions. And wanting to live up to a man able to tame monsters and oppress people into obeying him is pretty bad, NGL. The more I got to to know and read about why she thinks/feels/acts the way that she does makes me like her more. The deeper I got into the story, the more she reminded me of Rachel Duncan from Orphan Black. And anyone who reminds me of Rachel Duncan is good in my book. They have so many similarities and even down to the sharp-cut blond hair, it all makes me wild. What makes her so complicated is whether or not I can ever trust her. Is she going to be a vigilante? Pursue the greater good? Or is she going to be ruled by a darker monster? I MUST KNOW.

I was told by my co-blogger, Kristen, that she wasn’t sure that I would like This Savage Song because she read somewhere that there wasn’t much romance (and I am a huge YA romance buff). But take heed if you are like me (but worse): this is no Romeo and Juliet story. This isn’t a love story. This is a story about two very different characters trying to fight their inner monsters and keeping the monsters outside from killing them and destroying everything else in their wake. If you want romance, you’re not going to get it here, but do not let that deter you from reading This Savage Song. In the absence of romance, there is so much more to take away. This book is so unique and will leave you thirst for more (which is a tortuous wait). Plus, it’ll have you singing a new tune, no matter how morbid. ;)

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16 people found this helpful

Patricia Malby

Patricia Malby

5

Good read! Brought for young adult. She loves it

Reviewed in the United States on July 10, 2024

Verified Purchase

Very happy with item.

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